(born,1935). Sonic Arts and Intermedia composer. As a composer Lars-Gunnar Bodin has mainly been active in the Electroacoustic Music area or in Acousmatic Art – a term he thinks is more appropriate for his work. However, in his opinion composing has a much wider meaning than just writing music. In principle composing means that all sorts of basic materials used within the arts, sounds, visual elements, words, etc. can be put together by the same author.

In the early sixties, he was influenced by John Cage and his ideas and had the privilege of performing with Cage and David Tudor on several occasions. He became deeply interested in ‚Concrete Poetry‘ during the same period, and the art of ‚composing‘ texts has been a focus throughout his artistic career. Together with Bengt Emil Johnson, he coined the term ‚text/sound-composition‘, a term which has received some international recognition. As a text/sound-artist he has been greatly influenced by Öyvind Fahlström’s concrete poetry (Fahlström, the ‚originator‘ of the term concrete poetry).

Bodin’s artistic oeuvre is available on various record labels including Folkways, Fylkingen, Mnemosyne/IMEB and Wergo.

The Lipton Voice Machinery # 1(LVM) is a text/sound composition for live perfomance. It is composed for two female vocal artists and pre-recorded sounds. It dedicated to the two Swedish singers Lena Frilund(soprano) and Anne Pajunen (alto). All vocal sound material in this piece has been produced by these two artists. Although all of this material has it its roots in the Swedish language one can not perceive any semantic aspects of the text-sounds. The words were fragmented twisted and distorted already during the original recording session. After that it has been heavily edited and processed with electro-acoustic means. In LVM #2 I have used the same source of material as in LVM #1, but this is a version just for the loudspeakers.